Anemone Captures the Good Parts of the 60s on “Beat My Distance”

Every once in awhile, I come across an album that almost feels algorithmically generated to appeal to me. Anemone’s Beat My Distance combines krautrock, French pop, breezy psychedelia, and pretty much every other style of music I enjoy into a very pleasant package. It’s a little hard to tell if it’s actually “good” or if it just panders to me, but these days I don’t see much reason to draw a distinction. If I want to listen to it, it’s probably great.

The twangy guitars and bright synth parts, along with Chloe Soldevila’s airy vocals, make Beat My Distance sound like that idyllic version of the 60s that people have built up in their mind, where everyone walked around outside on sunny days and handed out flowers to each other while definitely not being racist. The overall focus on good vibes and lack of any rough edges can sometimes lead to the album feeling a bit naïve and absent of personality. These are flaws that I find easy to look past when the songs are this enjoyable to listen to, and this album provides a nice escape from the real world and its issues.

“Sunshine (Back to the Start”) is the clear highlight here; its bouncy rhythms, instrumental outro, and simple lyrics all add up to one of the more addictive songs of the year so far. Its template is followed by a lot of the songs on this album, which is all about mining familiar sounds and lyrical themes, creating a sense of nostalgia in the music. This could easily backfire (and many listeners might be turned off by the lack of originality), but Soldevila’s lack of cynicism and knowledge of exactly what her music is help me give this a high grade, even if she might have peeked at a neighbor’s paper a couple of times.

The Legacy of Trish Keenan

Here is the complete table of contents for my ten-part series on Trish Keenan, which I finally finished. It’s possible I’ll edit and compile all of these into a more digestible form at some point, but for now this is the easiest way to get all of the posts in one place (there is also a “Legacy of Trish Keenan” category that has all the posts).

Chapter One: Before We Begin (Introduction/Work and Non Work)

Chapter Two: The Impossible Song (“Echo’s Answer”)

Chapter Three: It’s Hard to Tell Who is Real in Here (“Come On Let’s Go”)

Chapter Four: TNMBP (The Noise Made By People)

Chapter Five: Valerie (“Valerie” and Valerie and Her Week of Wonders)

Chapter Six: Let the Balloons Go Outside (Haha Sound)

Chapter Seven: America’s Boy (“America’s Boy”)

Chapter Eight: Curiouser and Curiouser (Tender Buttons)

Chapter Nine: All Circles Vanish ( Broadcast and the Focus Group Investigate Witch Cults of the Radio Age)

Chapter Ten: Until Then (Until Then,” conclusion)

Potty Mouth Go Back to Basics on “SNAFU”

Listening to Potty Mouth’s new album, SNAFU, I’m reminded of that “Treehouse of Horror” episode of The Simpsons with Bart’s evil twin, Hugo, who is determined to be “too crazy for boys town” and “too much of a boy for crazy town.” In the last few years, the Massachusetts trio of Ally Einbinder, Victoria Mandanas, and Abby Weems have found themselves in an analogous predicament: they’re too pop for punk town and too punk for pop town.

This is their first full-length album since 2013’s Hellbent and first non-single release since 2015’s excellent self-titled EP, which raises some questions — with all due respect to the band’s music, it’s not like they’re in the studio laboring over a follow-up to Loveless here. In interviews now (and in tweets and song lyrics), they’ve discussed being courted by a major label, who burdened them with endless comparisons and expectations that left the band tangled in bureaucratic red tape without a sense of direction. Eventually, they parted ways with the major, and so now SNAFU finally surfaces on a friend’s label with not much PR or “momentum.”

For a band with such a faithful 90s aesthetic, it’s fitting that even the process of making the album sounds like something straight from 1994, with the scrappy indie band struggling between major label ambitions and staying true to themselves. While it was a winding road to get there, I’m glad they chose the latter. None of that self-doubt and struggle is heard in the sound of SNAFU, which brims with confidence and is the product of a band who now knows exactly who they are. It barrages the listener with one impossibly catchy chorus after another and its sugary rock sound is reminiscent of the best parts of The Go-Go’s and Veruca Salt. It might be my favorite pop album since Carly Rae Jepsen’s EMOTION, and it makes me think the people who work for that major label have no idea what they’re doing — though, of course, I would never suggest that anyone working in the music industry is less than competent.

I’ve mentioned this before, but writing about music inevitably warps how you think about it, and sometimes I get into a mindset where I feel like any “great” album needs to come with like, a thesis statement and a bunch of cooked-in narrative. After all, you can’t just write “this has good songs that sound good” and expect anyone to care. Sometimes I think artists have internalized this from writers, too, and some seem almost afraid of writing songs that are too poppy or too frivolous.

So there is a gutsiness in how SNAFU totally owns its status as an enjoyable pop album. It doesn’t bury its massive hooks under a bunch of lo-fi gimmickry in an effort to seem hip. It doesn’t have overly complex lyrics that might distract from the songwriting. It hits that perfect sweet spot where the songs are so well-crafted but never sound like they’re trying too hard. It may not challenge listeners much or break new musical ground, but there is an appealing self-assuredness to these songs — the album sounds like a band being who they want to be instead of what others expect them to be.

That theme is explicitly stated on a couple of the songs that I have been listening to repeatedly over the last weekend. “Smash Hit” (initially released as a single in 2016) kisses off that major label with a chorus that is a list of meaningless adjectives that you can just imagine one of those record label guys breathlessly telling to the band as if he is providing them with the best career advice of all time. “Plastic Paradise” is a more general commentary on the fakeness of shopping advertisements that burden everyone with societal expectations; listening to it is about the closest anyone can get to time traveling to the mid-90s. Another highlight, “Fencewalker,” is slightly more contemporary, with some critical and relevant lyrics about people who don’t engage with the world around them. It was written with Gina Schock of The Go-Go’s, just in case Potty Mouth’s intentions on this album weren’t already clear.

While it lacks the edge that most associate with the genre, I think SNAFU is in the true original spirit of punk. It provides a blast of simplicity in a context where a lot of artists are trying to out-think each other and push the limits of complexity, sometimes to self-aggrandizing degrees. In that sense, it’s a really smart album in addition to being impossible to stop listening to.